Musical Hearing Research Articles

PSYCHOLOGICAL ASPECTS OF DEVELOPMENT OF COORDINATION BETWEEN 6-8 YEARS OLD CHILDREN’S MUSICAL HEARING AND VOCAL APPARATUS

In the present article, the psychological aspects of the development and process of coordination between 6-8 years old children’s musical hearing and vocal apparatus are considered, among which an important role is played by such cognitive processes as music perception, representation of musical hearing, musical thinking, musical memory and self-control. This research aims at studying the psychological aspects of the process of coordination of musical hearing and vocal apparatus between 6-8 years old children.

A POLYPHONIC DICTATION AS A FORM OF WORK ON HARMONIOUS HEARING

Harmonious hearing is one kind of musical hearing that manifests itself in relation to a simultaneous sounding of consonances (a complex of sounds of different pitch) and mutual relationships between consonances.
 
 A polyphonic music dictation is one of the most important and complicated forms of work for the development of harmonious hearing during sol-fa classes at a higher education establishment. The skill of remembering a polyphonic dictation and quickly fixing the heard music involves an organic combination of listening to separate sounds and to the harmonious vertical of sounds, as well as their functional interaction, which promotes the development of musical thinking in general.
 
 The given research is concerned with the comparison of the methodological recommendations for fixing polyphonic dictations, as well as with working out the algorithm of the polyphonic dictation notation.
 
 Research aim: to study the principles of a polyphonic dictation and specificity of its notation.
 
 Work on a polyphonic dictation implies an organic combination of hearing separate voices and the harmonious vertical, comprehending each moment of sounding and their functional-logical interconnection.

Strategies for the Development of 6–8-Year- Old Children’s Breathing for Singing

On the basis of the diagnostic results yielded by the international project “The Coordination between Musical Hearing and Vocal Apparatus of 6–8-Year-Old Children during the Process of Singing: Comparative Study in Latvia, Lithuania and Taiwan”, strategies for the development of 6–8-year-old children’s breathing for singing were formulated in three areas (breath support, formation of the sensation of inhalation and exhalation, and breath energy), as well as exercises for the development of correct breathing in singing were devised. Research aim: to design strategies for developing 6–8-year-old children’s breathing for singing.

CHILDREN’S SINGING: REFLECTIONS ON A VOCAL TEACHING IN LITHUANIA AND TAIWAN

The research is concerned with the aim of comparing children’s singing and vocal teaching development in Lithuania and Taiwan. Singing is the most noticeable feature of musical culture of the nation. Seeking the continuity of traditions of teaching singing, the nurturance of children’s singing in various countries is considered to be one of the key objectives of music education. Therefore, the research teams from Lithuania and Taiwan have decided that the importance of the development of a child’s voice requires more attention. In total 150 6-8 yearold children took part in the research (testing): 75 children in each age group were tested in Lithuania and Taiwan. The methodology for “Children’s Singing Voice Measure” (CSVM) was used in the research. The conducted research highlighted the tendencies of expression of 6-8 year-old children’s singing voice skills in musical education classes in Lithuania and Taiwan. It was revealed that the ability of 6-8 year-old children to control the singing voice range is developed insufficiently. The article was written implementing the international tripartite research project “Coordination between Musical Hearing and Vocal Apparatus of 6-8 Year-Old Children during the Process of Singing: Comparative Study in Latvia, Lithuania and Taiwan” (TAP-LLT-14-016). Keywords Children’s singing voice, Vocal teaching, Testing, Lithuania, Taiwan, Comparative study

Development of musical abilities: Cross-sectional computer-based assessments in educational contexts

Online diagnostic measurement of musical abilities in a school environment is a new way to enhance pedagogic effectiveness. In our study we developed a technology-based musical perception test which examines basic musical hearing abilities among 1st to 11th graders in Hungarian schools ( N = 2961). The instrument was composed of tasks measuring the discrimination of rhythm, tempo, melody, pitch, harmony, timbre and dynamics, and we also tested the connection between auditory and visual modality. The results indicated an increasing developmental tendency during the period under examination. Students who attend classes with a special music curriculum achieved better results, except in the first years of school. A weak relationship was found between socio-economic background variables and test achievement; however, parents’ educational attainment and students’ school marks have a stronger relationship. Similarly to previous research findings, no significant gender differences were found.

Analysis on the Value of Inner Music Hearing for Cultivation of Piano Learning

Piano performance, which is an auditory art, delivers fantastic melody into one’s brain through his ears. Then, the music appreciators can resonate emotionally and achieve a mutual correspondence with their aesthetic ideas. Therefore, one not only needs to absorb music with their external hearing but also needs to cultivate their inner music perception during piano learning. This paper gives a comprehensive elaboration and some suggestions on how to cultivate the inner music hearing during piano learning.

Personal music systems and hearing.

To measure the output sound pressure levels of personal music systems and evaluate their effect on hearing. Output sound pressure levels at preferred volume settings and listening environment were measured using a manikin. Effects of personal music system use on hearing were evaluated using pure tone audiometry (in conventional and extended high frequency ranges), transient evoked otoacoustic emissions, syllable identification in noise, intensity discrimination, frequency discrimination and temporal modulation transfer function. Results showed, alarmingly, that large proportions of young adults are using personal music systems at levels higher than the safety limits set by regulatory bodies. Individuals who listened to personal music systems at levels higher than 80 dB LAeq exhibited poorer extended high frequency thresholds, reduced transient evoked otoacoustic emission amplitudes, poorer frequency discrimination, reduced modulation detection thresholds at 32 Hz modulation frequency, and reduced syllable identification in noise at -5 dB signal-to-noise ratio. Listening levels were significantly correlated with extended high frequency thresholds and transient evoked otoacoustic emission amplitudes. These results suggest that listening to music through personal music systems at higher volume levels may be hazardous to hearing.

English

The purpose of this study is to determine violin students’ cognitive levels about articulation marks in Department of Music Education, Fine Arts Education, Gazi Faculty of Education, Gazi University (GUGEF), and to identify the variables on which the cognitive levels vary. It is a descriptive research considering the study purpose, method and nature of study data. In the study, Turkish and international literature was reviewed to identify the place and importance of articulation marks in violin education. The study was carried out during the fall semester of 2015 to 2016 academic year. 59 violin students from the GUGEF Music Education Department participated in the study. The study data were obtained after the students filled in a questionnaire comprised of seventeen items. It was found out that majority of the violin students recall playing techniques as articulation marks are mentioned. A great majority of the students learnt articulation marks in detail during violin lessons. Again, the vast majority said they find themselves partially sufficient in recognizing and applying articulation marks. From overall success levels in the test regarding articulation marks, it was concluded that the respondents do not know the names and functions of the articulation marks. After the cognitive levels of violin students in Music Education concerning articulation marks were identified, certain recommendations were proposed: Content of instrument courses, mainly including Musical Hearing, Reading, and Writing Course, should be rearranged in the light of the study data and findings. Typing of musical notation by using articulation marks should be taught in Computer Skills course offered in the Department of Music Education. Lastly, practical training could be run by specialists to improve violin students’ cognitive and behavioural levels regarding articulation marks. Key words: Music education, instrument training, articulation, articulation marks, violin students.

5. Didactic Strategies for the Development of Professional Musical Hearing

Abstract This study suggests an incursion into the issue of the development of professional musical hearing, which is divided into three major sections. Starting from the general to the particular, this approach starts with defining the field of reference - musical hearing, seen as a prerequisite in the training of future artists. Closely related to the curricula and textbooks from the pre-university vocational education, the subject Music Theory - Solfeggio - Dictation holds the conceptual and pragmatic frame on the basis of which we offered different solutions for the development of musical hearing. In this respect, I focused my research on the following typologies: melodic, polyphonic, harmonic, dynamic, timbral, with particular reference to the formation of internal hearing and sense of rhythm.

The process of musical hearing

Basically, the concept of the “hearing” is explaining that how healthy human’s ear works. “The Musical Hearing" concept, he heard human voices can be explained as the detection process. Musical hearing, although it may be considered as a cognitive process, the formation of sound, transmitting the human brain and interpreted by the human brain is a physical process in terms of perceived. The aim of this study is to explain the concept of musical hearing in a concrete way, solved the problems experienced in the teaching of nonfigurative concepts in music education and to contribute in this way to provide a more permanent musical hearing education. For this purpose the formation of sound, our brains hear how it sounds, how it perceives and hears the sounds detected were investigated how to interpret the sounds. This Research is a descriptive study and research findings were reached on the related literatüre. The formation of sound research findings and detection process has been demonstrated with concrete concepts.

THE TECHNOLOGY OF DEVELOPING HARMONIC HEARING

In Latvia, the development of harmonic hearing takes an important place in the process of training pre-service music teachers, because a music teacher is a conductor of a school choir or a conductor of some other choir collective. The issues relating to the system of properties of harmonic musical hearing have been highlighted in a range of scientific works by different authors (Teplov, 1947; Sloboda, 1988; Petrushin, 1997). However, at present the understanding of the nature and ways of developing harmonic hearing is sometimes quite controversial. This, first of all, can be attributed to the complexity of the interrelations between harmonic hearing and general psychic processes: perception, presentation, reproduction, memory, and thinking. The interconnectedness of general human and specific, individual qualities makes this problem difficult to study. The solution of the problem is made difficult by the fact that a collective teaching at sol-fa classes in a higher education establishment often conflicts with learners’ individual peculiarities and problems of developing their harmonic hearing. Within the frame of the case study the technology of developing harmonic hearing based on the strategy of experiential learning (model by David Kolb, 1984) has been worked out. The presented technology is grounded on individual students’ learning styles and on the author’s model of developing harmonic hearing (Zavadska, 2012b).

THE COMPARATIVE ANALYSIS OF HARMONIC HEARING DEVELOPMENT CONCEPTIONS BY DIFFERENT AUTHORS

Musical-pedagogical theory and practice of higher education have to address complicated issues: the content of musical education changes, new music teacher training forms develop, technical provision of a teaching process improves.Choral singing as a kind of collective music making is an integral component of Latvian culture, an irreplaceable and over centuries tried out factor of spiritual and creative development of a Latvian people. Harmonic hearing is one of the components of musical hearing. The aim of the paper: to present the analysis of works by different authors on issues of the development of harmonic hearing made on the basis of the criteria developed for the analysis of literature. The general pedagogical criteria for the evaluation of teaching aids and the didactic principles of content development from the methodological recommendations “The Development and Evaluation of the Content of Teaching Aids Complying with National Education Standards” (The Department of Pedagogy at the Faculty of Pedagogy and Psychology of the University of Latvia) were taken as a basis for the offered criteria of the analysis of methodological literature.

Impact of frequency compression on music perception

Objective: To determine the effects of frequency compression on music perception, and the impact of previous music training and hearing status. It was hypothesized that lesser amounts of compression would be preferred, and that this pattern of preference would be more evident in the musically trained groups. Design: A paired-comparison paradigm was used. Subjects listened to pairs of musical passages as processed by a hearing aid with different frequency-compression settings. Subjects indicated their preferred passage and the strength of their preference. Study sample: Fifty-seven subjects divided in four groups, according to hearing status (normal hearing, mild-to-moderate hearing loss), and previous music experience (trained, not trained). Results: Subjects generally preferred the conditions with the lesser amount of compression. Listeners in the group with previous music training showed stronger preference for less compression than those without training, as did listeners with normal hearing when compared to subjects with hearing loss. Conclusions: Although less frequency compression was in general preferred, there was more variability in the comparisons involving the default settings for a 50-dB hearing loss (i.e. start frequency 4000 Hz, compression ratio 2.5:1) and no compression, suggesting that mild amounts of compression may not be detrimental to perceived sound quality.

De la audición a la ontología de la música en las asignaturas de música y contexto del proyecto curricular

La revista CALLE14 es un medio de circulación de saberes y conocimientos producidos por las comunidades académicas especializadas en el campo del arte que, debido a su acción mediadora, facilita la construcción de comunidades artísticas disciplinares e interdisciplinares, de redes de investigadores en el ámbito nacional e internacional y, ante todo, propende por la apropiación social del conocimiento como un instrumento de transformación de sujetos y colectividades.

THE DEVELOPMENT OF FUTURE MUSIC TEACHER’S HARMONIC HEARING: EXPERIMENTAL LEARNING STRATEGY

The development of harmonic hearing is a vital part of music teachers’ training, since the quality of intoning in a choir or a vocal ensemble depends on the level of harmonic hearing. A well-developed harmonic hearing is, by right, considered to be a high stage of professional musical hearing and is of greatest importance for the future music teachers. In the contemporary music pedagogy, the issue of developing a learning strategy is a topical problem. The paper is concerned with the possibility of employing Experimental Learning strategy in the practice of teaching sol-fa. KEYWORDS: the development of harmonic hearing, experimental learning. DOI: http://dx.doi.org/ 10.15181/atee.v1i0.675

Aural Training in Institutions Training Music Teachers in Turkey

Education is at the head of the most efficient processes in shaping, directing, changing and perfecting individuals and communities. Three general subjects named as contemporary education, science and art and technique are endeavoured to be performed through an organisation in a frame of a specific philosophical integrity. As an art of education having more vocal and auditory features, music education forms one of the most important branches in education of fine arts. A music teacher in Turkey is trained in the departments of music education, department of education of fine arts in faculties of education at universities. An education program in an undergraduate study of four years is organised with the inclusion of field education, pedagogical proficiency and core courses. Musical aural training forms one of the main dimensions of field education. Musical hearing in broad terms is the ability to perceive, recognise, differentiate, and resolve musical integrity, component, feature and associations perceivable with the sense of hearing. In the statement, with a current point of view in the light of a descriptive method, musical aural training in institutions training music teachers in Turkey is evaluated through the analysis regarding programs, content and practice.

The Development of the Coordination between 6-7 Year-old Pupils’ Vocal Apparatus and Musical Hearing in the Process of Singing: Latvian Music Teacher's Opinion

The problem of the development of the coordination between 6-7 year-old children's vocal apparatus and musical hearing is topical, because before the age of 6, the vocal apparatus of children has not yet sufficiently developed and sounds are formed due to the vibrations of the edges of vocal cords.The aim of the research was to find out whether in their pedagogical activity music teachers apply individual learning strategies for teaching children, whether such strategies are necessary for the work with children and which learning strategies are the most effective for the development of the coordination between the vocal apparatus and musical hearing in the process of singing. More than 50 music teachers working with 6-7 year-old children in kindergartens, music schools and general education schools participated in the questionnaire survey.The research results provide information regarding the music teachers’ understanding of the problems of the coordination between 6-7 year-old children's vocal apparatus and musical hearing and reveal their opinions concerning the possibilities to resolve these problems. On the basis of the questionnaire survey results, the recommendations for resolving the problems of the coordination between the vocal apparatus and musical hearing have been worked out.

La educación auditiva como eje vertebrador de la educación musical en la Educación Secundaria Obligatoria

El presente trabajo se enmarca dentro de un estudio de mayores dimensiones motivado por el interés de los autores en la didáctica de la audición musical, convencidos de que los principios fundamentales sobre los que se debería apoyar la educación musical actualmente en la Educación Secundaria Obligatoria son, por una parte, la necesidad de una mayor contribución de la misma a una educación integradora de todas las dimensiones del ser humano, y por otra, la conveniencia de otorgarle un mayor protagonismo a la educación auditiva en el proceso de enseñanza-aprendizaje de la materia de música en dicha etapa educativa. El propósito es dar respuesta a una serie de interrogantes que surgen en torno a las estrategias metodológicas más adecuadas para llevar a cabo una verdadera educación auditiva, para lo cual se ha utilizado el método de la Action Research, un enfoque cualitativo cuyo objeto de estudio es la propia práctica educativa, con la intención de mejorarla, desde la convicción de que únicamente a través de la interacción directa y la participación en la experiencia real el investigador puede obtener conocimientos auténticos. Los resultados obtenidos con la experiencia didáctica llevada a cabo aportan una serie de sugerencias que deberían ser tenidas en cuenta para la práctica docente del profesorado de música.

The possibilities of using the playing of recorder in the music teaching for the first grade pupils

The possibilities of using the playing of recorder in the music teaching for the first grade pupils

Self-learned folk musician

Self-learned folk musician